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The Vaults Theatre, London – until 22 June 2019

Reviewed by Lisa Harlow

2**

The show is billed as a mind-reading show based on CIA’s psychic spying programme run in the Cold War and disbanded in 1995. A number of techniques from the programme are attempted with audience members throughout the evening.

David Narayan, the sole presenter and performer, peppers the show with details of participants of the Stargate programme and excerpts of the CIA declassified documents, parts of which are still redacted (on changes to human cells).

The information highlights that the show ‘is unusual in that the performer, David Narayan, does not demonstrate any psychic powers’. David Narayan is an amiable host and generally presents information with sincerity. But increasingly through the evening it feels more like a high brow magic show, and my desire to learn more about the findings of psychic phenomenon is left wanting.

The audience is rather muted throughout and some become rather hysterical after the interval as the different techniques are tried out with various success. Hints are given to what psychological cues might really be happening, yet they are never really followed up (“Note that I am going first, that will become important later”). This is a shame as the premise of learning about the findings and experiencing the practices is enticing yet there are sleights of hand occurring that leave us constantly scrutinising the illusions at play.

There are a number of successful results throughout the night but the failure to really have won over the audience impacted greatly on the general atmosphere of the evening, unfortunately hampered further with technological issues. The finale does win sincere investment in the outcome given its hazardous nature, with genuine gasps from the audience.

Overall, this show has good potential and a fascinating premise to draw people to the show, but its execution is somehow lacking. As a performance, more sparkle is needed, or if it is to veer more to really digging into the psychic programme, then far greater material woven into the show would be an improvement.

Drayton Arms – until 15 June 2019

Reviewed by Heather Chalkley

3***

Sarah Wanendeya has successfully extracted the essence of women facing middle age, bringing a roller coaster of emotions that go with it.

Overcome by the stresses and responsibilities of being wife and mother, The Woman (Wanendeya) has lost her sense of identity, creating a feeling of invisibleness. We are taken on a hilarious journey through her youth and explorations of a society fixated on retaining their youth.

The chorus of 4 women at various stages of middle agedness are our guides, provoking, questioning The Woman (Wanendeya) through her search for self.

Wanendeya (The Woman and the writer) takes us through a touching, very human and gently funny journey, until we are brought out into the sunshine and the liberation of finding herself. 

Director Newcombe, has made full use of the symbolic pile of clean white washing, a golden cord attached to The Women (Wanendeya), plus the reflections of self in The Chorus t-shirt labels, give a striking visual image. Newcombe certainly gives an unusual and amusing start to the performance!

The play does feel focused on a privileged group of women, who have not experienced any significant trauma in their lives. However, whether you are a middle aged women or not, everyone of us will find some part of this play relatable and perhaps spare a thought for the women in your life hitting a certain age!

Baron’s Court Theatre – 14th June 2019

Reviewed by Prachya van de Gevel

3***

Wow, this may have been one of the strangest things I have ever seen, bordering on completely bonkers, with some of the most over the top acting, or on another hand comically brilliant, I can’t seem to decide and even as I write this I am still undecided.

It is one of those play’s that is so bad, that it is good, but above all I was entertained, I laughed throughout the show. When life turns into a dating disaster who is someone to turn to but to the dark arts of Sex Magic. A perfect setting of an under ground  small theatre in a pub, that I have been to many times but had no idea there was a theatre underneath!

The central character  of Amelia played by Natasha Zierhofer, was in many ways perfect as the whiny girl seemingly incapable of finding a way through the perils of dating.Her promiscuous room mate Jo, Jade Love is great in the mean girl role, and is the best friend in some ways that no one needs, I loved her polar role alongside Amelia and was a welcome break from the whiny down on her self Amelia. Hugo Linton play Julian, another whiny character that is the perfect match for Amelia, if only they could just communicate with each other, He was there in the scenes but everyone of them was overshadowed by Anca Vaida, of Luna and Ecuador was completely committed and hilarious. She made me nervous she made me laugh, she was fully committed to both of the roles and I looked forward to her appearances in the scenes.

I recommend this play if you want to have a laugh, and feel uncomfortable but don’t go for anything deeper than that

Seven Arts, Leeds – Thursday 13th June 2019

Reviewed By Dawn Smallwood

4****

Tutti Frutti is reputed for delivering successful imaginative and creative children’s theatre whether it’s based on a traditional story or a contemporary imaginative retelling. More so is inclusivity as this unique production is told by three performers through words, movement, dance and British Sign Language.

Written by Brendan Murray, an award winning writer, Yellow is the Colour of Sunshine, is about two friends, Yoshi (Connor Bryson) and Hani (Phoebe Stapleton) whose differences could not be any more contrasting. They play and learn to communicate their feelings in all circumstances through the good and the bad times. They are supported and mentored by the Sky, Kite and Magpie which are portrayed by Holly Irving.

Emotional intelligence is very important in a child’s development and this play takes this in account and how those variable behaviours link on stage. The children’s play is imaginatively projected in a way that there is something for everyone to learn and think whether one is a child or an adult.

Kate Bunce’s simple staging in an intimate space is lightly colourful and the costumes and props blend in nicely. Set to variable music, sounds (Christella Litras) and lighting (Sara Burns) and under the direction of Wendy Harris, the play is energetically and reflectively told with a passionate performance from Bryson, Stapleton and Irving.

There is a lot of storytelling packed in the one act play, approximately 45 minutes, and it has been received well by the family friendly audience. The colours yellow, blue and green are figuratively connected to growth, learning, positivity and optimism and Yellow is the Colour of Sunshine physically echoes this with an inclusively beautiful performance.

Touring until July 2019

Yeadon Town Hall, Leeds – until 15 June 2019

Reviewed by Debra Shaw

4****

Prepare to be thoroughly entertained as you watch a celebration of the world famous, Grammy award winning American songstress Carole King. This brand new production takes you on the musical journey through her life.

From the newly formed Yeadon Town Hall Productions comes a musical revue that will delight Carole King fans and surely make new ones as it takes The Carole King Songbook on its UK tour at the end of June. Carole King’s hit music career spans decades, the show spotlights her work not only as a solo artist but her many songs, made hits by the likes of Neil Sedaka, the Drifters, Aretha Franklin, and the Beatles to name but a few.

The songs are performed by 4 talented artists, whose vocals showcase Carole’s amazing work wonderfully. Eve Rhianna Kitchingham, Kara Mottram, Thomas Lillywhite and Danny Dixon work in harmony together to entertain the mixed audience of young and old. They perform hits such as: Da Doo Ron Ron, Stairway to Heaven, Some Kind of Wonderful, (You Make Me Feel Like) A Natural Woman, Will You Still Love Me Tomorrow, You’ve Lost That Loving Feeling and You’ve Got a Friend and many more. With stunning visuals provided by the LED wall as their backdrop, impressive lighting and accompanying musicians The Carole King Songbook is not be missed. The unplanned encore was testament to this with the audience shouting for more until they got it! Although during the first half of the show it would have been good to see pictures of Carole King on the LED wall to accompany the narrative elements.

Having been a previous visitor to Yeadon Town Hall, I was impressed with the recent and still ongoing refurbishment, and what the Yeadon Town Hall CIC is aiming to do for the local area is admirable.

Edinburgh Playhouse – until Saturday 15 June 2019

Reviewed by Manetta McIntosh

4****

Take a fondue set because the cheese is delicious. The 80’s was my era for music so I was excited about this musical, but it has far exceeded my expectations. It took a minute for me to settle into the production, the story follows a young couple about to get married but cold feet set in, the bride calls it off although decides to go on the honeymoon with her two friends. Funny old thing, the jilted groom does the same thing and they end up at the same resort…let the games commence.

Team Bride, played by Karina Hind (bride), Tara Verloop and Rebecca Mendoza were basically your typical 80’s group of friends; the sensible cute one, the goodtime girl and the funny one in that order.

Team Groom, played by Cellen Chugg Jones (groom), Rory Phelan and Kane Verrall were your typical 80’s blokes, the sensible cute one, the goodtime boy and the ‘sensitive’ one…you get the picture.

The songs set the scene, from Don’t Leave Me This Way to Making Your Mind Up, this was a musical blast from the past. I did not think some of the songs would work in a ‘show-tunes’ format, but they just did. The singing was excellent, the range of some of the songs would have been a challenge for most but Cellen hitting those A-Ha high notes was incredible.

Once the ‘teams’ get to Club Tropicana there really was fun and sunshine for everyone. Gary (Joe McElderry) and Consuela (Kate Robbins) absolutely stole the show for me. The script and their delivery was undeniably on point. I was crying with laughter from the moment they came on stage. But for me, the line of the show has to go to Christina (Emily Tierney) who, whilst considering which cocktail to have, asked Robert (Nye Rees) if he’d ever had a Tight Snatch, I thought I was going to pass out.

There was more intrigue at the holiday destination as the hotel owners, Serena (Amelle Berrabah) and Robert (Nye Rees) discovered the deceitful Christina (Emily Tierney) was trying to sabotage their business and their relationship. But true love and friendship prevails in the end.

You don’t have to have lived through the 80’s to enjoy this show but it definitely helps to understand the hairstyles and shoulder pads. The music transcends the decades and the generations and had everyone up on their feet towards the end. My favourite song has to be Relax sung by the amazing Joe McElderry, he is an exceptionally talented performer in my opinion. I was disappointed that they didn’t sing Club Tropicana but this musical is indeed a whole night’s holiday, so if you want to brush shoulders with the stars, this is the place for you.

Kings Theatre, Glasgow – until 22 June 2019

Reviewed by Linda McLaughlan

5*****

“Touching and emotional production following the lives of a sleepy Yorkshire community”

Unfortunately we have all been touched by someone who has lost a loved one to cancer in one form or another and can relate to the impact this has on families and communities. This production follows on from an event that took place in the sleepy Yorkshire Dales when a group of ladies and friends who attended their WI meetings came up with the idea to raise money for the Leukaemia Research Fund.

We have all seen the amazing which covered the family and friends as they began their journey to produce a suitable alternative Calendar to raise funds. The theatre production however I felt took the events to a far higher level with the production bringing the excitement, sadness, frustrations and end result to life for the entire audience.

There were tears and laughter throughout the evening and the theatre had a air of excitement as the actors who were all very well known from a wide range of TV and Theatre backgrounds built up to the final scenes when the Calendar began to take shape. All the nude scenes were tastefully performed which was very dignified and suitable for the audience to be part of.

I would recommended that everyone visits the Theatre for this production as the entire performance and musical collaboration from Gary Barlow and Tim Firth was respectfully done.

Yvonne Arnaud – until 15th June 2019

Reviewed by Heather Chalkley

4****

A fast paced musical full of fun and antics, sending a clear social message through an accessible medium. The Pajama Game is based on the novel Seven and a Half Cents written by Richard Bissell. It comes from a strong pedigree first performed in the 50’s and revived many years later in both the West End and Broadway. It follows the progress of an ambitious young man from Chicago named Sid Sorokin (Oli Dickson).

Dickson (Sorokin) warms into his vocals, conveying passion and strength. Dickson (Sorokin) is caught between blue collar workers and the boss, is ambitious and in love. By the same token Ellie Sharpe (Babe) carries an air of confidence that lifts her above the rest, caught between her passion for fairness and her passion for Sid (Dickson). Both Dickson and Sharpe are great storytellers, carrying you in a quick step through their journey.

I have watched many films of that golden age. Ellie Sharpe (Babe) has a real twinkle of Doris Day in her performance, carrying herself with confidence and playful swagger. Oli Dickson cleverly gives Sid Sorokin that self-determination so reminiscent of that era.

The ensemble is a tight group of players, with great vocals, on pointe dance moves and terrific comedic timing. They transport you back to the 50’s pyjama factory, where the patriarchal leadership gives birth to a work family, bonded together in their fight for their rights. Funny and sad in places, full of energy and drive.

The creative team does a wonderful job keeping the costume relevant, bright and with a touch of humour when needed. The set is mobile and dynamic and thoroughly reflects the factory shop floor of that time, allowing quick changes with a noisy ensemble, making it feel completely natural.

If author Richard Bissell turned up to see the performance, he would be proud of what his book has achieved in this production. Bringing the message to the people that you must stick together and stand up for what you believe in, however powerful the adversary may be. Very relevant in Britain right now.

Mayflower Theatre Southampton – until 6th July 2019

Reviewed by Leanne Caplis

5*****

The multiple award-winning musical adaption of the much-loved story by Roald Dahl sees Matilda embarking on its UK Tour following its success in the West End and audiences are in for a real treat.

Matilda (Freya Scott) is an unwelcome child to her air-head mother and con-man father Mr and Mrs Wormwood (Rebecca Thornhill & Sebastien Torkia). Mr Wormwood cannot accept Matilda as a girl and refers to her throughout as ‘boy’ and makes it clear she would be better watching more ‘telly’ than having her head in her books. Mrs Wormwood wants to dance her days away rather than accepting she has a very special daughter who can move things with her eyes and speak Russian fluently.

On turning 5 Matilda is sent off to school where the feared Miss Trunchbull (Elliot Harper) rules her school with an iron fist. Miss Trunchbull is a big bully who uses the chokey as punishment for the smallest things. In stark contrast Matilda’s lovely teacher Miss Honey (Carly Thoms) recognises something special in Matilda and soon a special relationship develops.

From start to finish this show is a mass of singing, dancing, comedy, cheesiness and magic. The staging, props and lights of this show are mind-blowing. It is clear to see this has been a West-End show and no expense has been spared. Watch as the stage transforms from a lounge to a classroom to a physical education hall and the home of Miss Honey. There are some spectacular moments that stood out for me and these are the School Song where the alphabet wall is used and When I Grow Up where the cast enter the stage from a slide to swing above the audience on their swings.

There is a perfect amount of adult humour in this production to make it a perfect show for adults and children alike. There was a real buzz from the younger members of the audience. Their whispers asking how Trunchbull was able to spin one of the children around by her pigtails and how they did the magic with the chalk was infectious to listen to.

The whole cast of this production are remarkable and every single one deserves a special mention. The children make this show the success it is. Watching them dance, sing and act their way through scene after scene reveals just how talented they all are. They do not miss a line or a dance step and their facial expressions really bring the story to life.

Special mentions go to Freya Scott who plays Matilda and Elliot Harper as Trunchbull. Freya is one to watch for the future, I will be following her progression and I can’t wait to see her in many leading roles. There was silence from the audience as Freya sang Quiet; her voice is beautiful and looking round I could see tears in the eyes of many. Elliot Harper plays Trunchbull perfectly. Her hobbyhorse scene during physical education left me in stitches and she really brought back memories of the most feared teachers from my childhood.

This show is a must see for all ages. With dance scenes that would not be out of place on Strictly, magic which will leave you wondering how they did it and not forgetting the amazing singing it’s just pure brilliance. If you don’t book you deserve some time in the Chokey

York Theatre Royal – until 29th June 2019

Reviewed by Marcus Richardson

5*****

Driving Miss Daisy may be known to some as the multi-Oscar Award winning film featuring Jessica Tandy and Morgan Freeman, however this successful 1989 film was originally an off-Broadway production. The show, which features a African-American driver by the name of Hoke Colburn and Daisy Werthan, an old Jewish retired school teacher. Set in in the late 40s and goes on throughout the years as the relationship evolves between the two.

The show features a cast of just three actors playing a character each. I want to start off by saying I was blown away; the stubborn and proud character of Daisy Werthan is bought alive by Paula Wilcox, who creates a relatable, yet at times cold, personality on stage. As we watch how her character develops over the years, Wilcox stole the second act in the show with the character getting older, it was hard to see the actor behind the character even though the character was much older than herself. The play is about the relationship between Hoke and Daisy and it should only be fitting that Maury Richards, who played Hoke did as good of a job as Wilcox. Richards character was warm and hard working, Richards makes sure that the Wilcox and, more importantly her character, are the focus of the play. This works amazing for his character who is happy with his place as a driver. The relationship between the two characters is amazing to watch on stage, especially when the actors work so well together, just to see how Daisy warms up towards Hoke is something sweet and beautiful. The third, and final character is Daisy’s son Boolie Werthan, played by Cory English, although the character isn’t the focus of the play English still does a tremendous job creating a character that helps move the play along and fit alongside the other characters. I was stunned with how all three actors did such good jobs with not just creating characters, but creating relationships on stage. To me that’s what made this show incredible with the focus is on relationships how how they develop over time.

Obviously with a show about driving a car, there may have to be some form of automobile on stage, this show did not disappoint. At the centre of the stage there was this ‘car’ on a turntable which the actors used throughout the play, this wasn’t a real car and the design didn’t hide that fact it wasn’t a real car, a gentle reminder that we are watching a piece of theatre. To show the progression of time and to help as a helpful guide, there were projections of newspapers headlines and other iconic moments throughout the time period at the top of stage.

I didn’t think I was going to like the play as much as I did, but I am so glad I got to watch this masterpiece of acting. I love how the play touches upon issues whilst also not making them the centrepiece of the performance. A thought provoking, genteel show that is calming to watch and pleasant enough not to put anyone off. Would I recommend this show? 100%, if you can’t tell how much I like the show from this review I may as well just stop writing reviews altogether. This performance of Driving Miss Daisy is only at York Theatre Royal until 29th June and is not touring, however it is worth the travel.